SIDE ENTRANCE: Architect John Linnert poses outside an entry point at the Mariners Medical Arts complex, in Newport Beach. Linnert hopes to stop the demolition of the building, designed by famed architect Richard Neutra.

LOUVERS, LOUVERS EVERYWHERE: Louvers over windows and in light wells disperse light and help keep the building cool during hot parets of the day.

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EVEN PRETTY FROM THE BACK: Vertically-laid stonework is another unusual feature of Neutra's medical arts complex in Newport Beach.

SOOTHING SCENE: Neutra wanted views from doctor's offices and dentist's chairs to be as soothing and pleasant as possible, according to the architect's son, Dion.

ROOMS WITH A VIEW: Second-floor offices have shaded decks and sylvan views.

SPIDER LEGS: That's what some call the graceful supports that line the walkways that run beside and between the three strcutre's in Neutra's medical arats complex.

FAMOUS ADDRESS: The original name for Neutra's three-building complex still graces the entrance.

IN THE WEB: Architect John Linnert poses within the "spider legs" design outside an office at the Mariners Medical Arts complex, in Newport Beach. Linnert hopes to stop the demolition of the building, designed by famed architect Richard Neutra. The spider legs are meant to visually lead a person down the walkways.

Costa Mesa architect John Linnert is the kind of guy who, when passionate, speaks in italics.

And nothing gets Linnert, 49, more passionate than architecture – especially midcentury modernism. That’s the clean-lined style that was in vogue during the years Orange County transformed from a rural outpost to a bustling metropolis.

“Buildings from this era are the most important part of the county’s design legacy,” Linnert said. “And we’re neglectingthem.”

One place in particular is the focus of Linnert’s passions these days: the Mariners Medical Arts Center in Newport Beach.

Constructed in 1963, the elegant structure at 1901 Westcliff Drive – actually three buildings connected by covered walkways – is the work of Richard Neutra, a giant of 20th century architecture. It’s been cited by the Orange County chapter of the American Institute of Architects as one of the county’s most significant buildings. Along with several other Neutra projects, it’s among 75 noteworthy addresses singled out in a book recently published by the chapter.

But if a three-phase construction project on the property goes through as planned, the 17,000-square-foot complex will be demolished.

Linnert, who became familiar with the building because his daughter’s orthodontist has an office there, is mounting a lively campaign to save it, and he’s beginning to get some attention. A group of local architects and other concerned citizens are slated to appear Thursday at a meeting of the Newport Beach Arts Commission to express their concern over the future of the complex. The commission advises the city council.

Renovating Neutra’s medical buildings and bringing them up to current code would be more expensive than simply building anew, according to Marcos Mendoza, an associate with the property’s owner, Venture Real Estate.

“We paid about $5,000 recently (to repair) the sewer lines and we’re doing so many repairs now on lighting and the structure,” Mendoza said.

“The foundation has issues; the water pipes have cracks. The costs are getting outrageous.”

Some tenants are already being given notice as Venture prepares for first phase of the project, a new building on a part of the property that’s currently a parking lot. “We’re trying to keep as many tenants as possible,” Mendoza said. But rental prices will increase, he acknowledged.

Linnert scoffs at Venture’s claims. He doesn’t believe the improvements would cost that much. “And they’ll destroy this masterpiece to create two glass boxes that are mundane and have zerosignificance to history.”

Linnert used an automotive analogy to drive his point home. “Would you tear apart a Duisenberg and replace it with a Ford?”

Blending nature and design

Richard Neutra died in 1970, but his son, Dion, is still a practicing architect in Los Angeles. He clearly remembers his father’s affection for the Newport medical complex.

“We built a number of facilities like this one in Orange County, but this was his favorite. He felt it was the most successful.”

Neutra said his father strived to blend nature and structural design for psychological reasons.

“He was thinking about the stressful situations people would find themselves in while they’re at the doctor or the dentist, and how the idea of looking out from your dental chair into a beautiful garden or forest might soothe you.”

Neutra says that in the past other Orange County projects by his father have been neglected, altered or torn down. He is particularly upset about the Orange County Courthouse, completed in 1969.

“We had a lot of water (fountains) displayed there. They’ve systematically removed them, one after another. The lobbies have been messed up. The whole building is a travesty of its original self,” Neutra said.

“Nobody gave us a chance to help with the changes.”

Neutra, who said Linnert brought the demolition plans to his attention, pledged to do everything in his power to help with Mariners’ preservation.

Architect Jason Briscoe, current president of the AIA’s Orange County chapter, agrees that the Mariners complex is significant, but says saving it would be difficult. Briscoe pointed out that the United States, unlike many countries, lacks public preservation trusts or federal laws that might be used to spare buildings of architectural rather than historic significance. “It’s private property, so it’s not protected,” Briscoe said. (In France, a strict federal law saved a Neutra edifice from destruction, according to Dion Neutra.)

But Briscoe said his AIA chapter is preparing a letter to the city of Newport Beach that will emphasize the importance of Mariners. “Neutra was one of the most significant architects of the century, and he has a major body of work in Southern California. This building is a good example of what he was trying to accomplish in his work.”

It’s nothing special

Newport Beach councilman Don Webb, who represents the district in which the Mariners complex resides, is sympathetic to preservationists’ concerns. But he pointed out the city seldom steps in to save privately owned buildings from demolition.

“This is a city that is very conscious of property owners’ rights. You have to be really careful what restrictions you place on people. That building likely has some substantial infrastructure problems. The owners would probably have to spend a whole lot of money to bring it up to current standards. That can be a real challenge if you’re also trying to preserve the character of a building.”

Webb also questioned the importance of Neutra’s medical complex.

“About 15 years ago a committee was put together. They went around town and noted buildings that they considered to be of any significance. I don’t think this building was on that list. I live in the neighborhood and go past that block regularly. It’s not a building I’ve ever noticed or one that seems like anything special compared to everything else along there. They’re all just flat-roofed offices and stores.”

To Linnert, that’s like calling Sophia Loren an average-looking woman.

“What makes it great is it’s a wonderful symphony – everything works together perfectly. The use of materials is just amazing, and so is the thoughtfulness. He uses louvers over the windows to block sun in the morning and inhibit heat gain later in the day. Around the back there are stairs going up to offices above that all have little decks. And there are trees and plants integrated with all the exterior elements.”

Linnert shakes his head when informed of the proposed rental rates in the new structure.

“You know, the tenants, they love the place and they want to stay there. This is all about greed – greedtriumphing over cultural significance. It’s a familiar story in this part of the world.”

Linnert pauses; his voice softens.

“You walk through there and see the genius in every tiny detail. To think that it’s going away just gives me a sick feeling in my stomach.”

Paul D. Hodgins is a freelancer who previously worked at the Orange County Register since 1993. He spent more than two decades as the Register’s theater critic, and for eight years he wrote about dance as well. Hodgins has also written for American Theatre, Variety, The Sondheim Review and Backstage West. Hodgins has also been active as an educator and scholar. He was the music director of the dance department at The University of California, Irvine from 1985-92 and served in similar positions at Eastern Michigan University, Vancouver’s Simon Fraser University and the Banff Centre for the Arts. His book about relationships between music and choreography, 'Music, Movement and Metaphor,' was published in 1992. Since 2001, Hodgins has taught arts and entertainment journalism at California State University, Fullerton. Hodgins holds a doctorate in musical composition and theory from the University of Southern California. He lives in Huntington Beach.

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